WORKS
Hosted at the Neubauer Collegium, Chicago on May 8, 2025, the Artist Talk & Discussion brings together Monica Narula and Shuddhabrata Sengupta in conversation with Dipesh Chakravarty and Prathama Banerjee, moderated by Dieter Roelstraete.
Wayfaring Ways To Be Solo ExhibitionHanart TZ Gallery, Hong Kong (2025) Wayfaring Ways To Be is an invitation to a journey where language, movement, and thought converge. The works probe what it means to be in motion and to think deeply in an era when machines increasingly mimic what once were faculties exclusive to us. […]
Chimera Chorus is a striking mixed-media artwork that combines embroidery, and organza to create an intricate, dream-like figure on fabric.
Published in ‘Matter Mattering Matters – A Scienticity Reader‘, Edited by Edited by Kabelo Malatsie and Lantian Xie, 2025
Twisted Time (2024) is formed from two glass bicycle wheels mounted on a mirrored plinth where they rotate slowly
Borderlands (2024) is a series of seven laser engravings on black sandpaper. Rendered black on black, the hard-to-decipher drawings riff off medieval depictions of animals where the intended creature and its depiction only nominally match.
A configuration of five graphic ‘imprints’ and three augmented-reality ‘interferences spread across various levels of The Cosmic House, London.
Autoluminous is an index of our awareness of the inscription of energy into every waking, sleeping and dreaming moment.
Hosted at Asia Art Archive’s Library, this year’s Annual Artist’s Lecture welcomes Raqs Media Collective as the guest speakers.
Na-Bam unfolds as meditation on water, depth, and the impossibility of measure. Presented as a six-screen video installation with video wallpaper, the work moves through shifting landscapes of land, river, sea, and forest—charting the imprints of thirst, flood, and memory.
The Bicyclist Who Fell into a Time-Cone, published by Jencks Foundation (2023), takes the form of an artist book, and foregrounds text over image. Mirroring the film’s visual textures, the five voices in the pamphlet register varying distances from what is seen on the screen and its potential elucidations: voiceover, description of images, words on screen, added layers of annotations and meta-annotations.
All, Humans builds itself from uniquely human faculty of language to construct conceptual categories that transverse the human condition. It arcs out like a canopy – suspended between a multiplicity of minds, hearts and hands, sheltering and anticipating the universal human aspiration and claim for freedom, equality and dignity.
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